HERDER'S  CONCEPTION  OF  THE  FOLKSONG  AND  HIS 
INTRODUCTION  OF  PERCY'S  RELIQUES  OF 
ANCIENT  ENGLISH  POETRY 


BY 


IDA  MARIE  STAEHLE 


THESIS 


FOR  THE 

DEGREE  OF  BACHELOR  OF  ARTS 


IN 

GERMAN 


COLLEGE  OF  LIBERAL  ARTS  AND  SCIENCES 
UNIVERSITY  OF  ILLINOIS 


1922 


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THIS  IS  TO  CERTIFY  THAT  THE  THESIS  PREPARED  UNDER  MY  SUPERVISION  BY 



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DEGREE  OF 





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HEKDER'S  CONCEPTION  OF  THE  FOLKSONG 
MD  HIS  INTRODUCTION 

OF  PERCY’S  RELIQ.UES  OF  ANCIENT  EI'JGLISH  POETRY 


Ida  M.  Staehle 


(/ 


Gerraan  30B 

University  of  Illinois 
hli^y  1922 


HERDER’S  COJJCEPTION  OF  THE  FOLFCSONG 
AlTD  HIS  IITTRODXTIOH 

OF  PERCY’S  RELIOUES  OF  AITCIMT  ENGLISH  POETRY 

Literary  critics  of  the  18th  cent-ury  recognized  in  the  folk- 
song—the  naive  poetic  expression  of  a peoples'  elemental  feeling- 
one  of  the  most  important  contributions  to  the  annals  of  human  his- 
tory. In  Gennany  its  significance  had  been  lost  sight  of  for  some 
time;  it  remained  for  Johann  Gottfried  Herder  to  revive  the  interest 
in  it.  He  stimulated  the  desire  among  the  literary  men  of  his  time 
and  country  for  a collection  of  the  existing  reianants  of  songs  that 
cannot  die  because  they  contain  the  immortal  heritage  of  the  nation. 
He  himself  had  been  inspired  by  the  old  Englisli  and  Scotch  songs  and 
hoped  by  bringing  them  to  the  German  people  tlirough  translation,  to 
again  turn  their  taste  to  the  appreciation  of  the  forcefxil,  serious 
ballad. 

The  eighteenth  century  "Romanze”  before  Herder  had  a decided 
tendency  toward  the  humorous  and  satirical.  This  was  noticeable  in 
the  burlesques  of  Schiebeler,  Lowen  and  other  German  contemporary 
lyric  poets,  as  well  as  in  the  "Leyerlieder”  of  K.  F.  Schmidt  that 
appeared  in  1780.  Even  as  late  as  1794  Sulzer  in  his  ’’Theory  of 
Fine  Arts”  claiiried  that  the  ballad  belonged  to  the  comical  type  of 
literature.  Nevertheless,  as  early  as  1767,  M.  Christian  Schmidt  of 
Giessen  in  his  well-known  ’’Additions  to  the  Theory  of  Poetry”  remarks 
that  to  qualify  the  ballad  as  necessarily  funny  was  a fast  disappear- 
ing prejudice.  The  contributions  of  Goethe,  Bigger,  Wieland,  Voss, 


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Clatidius,  Kosegartsn,  von  Miller,  Hang  and  other  poets  of  the  last 
half  of  the  eighteenth  centnry,  all  tending  toward  more  serious  ex- 
pression, helped  to  bring  about  a decided,  thongh  necessarily  grad-ual, 
change  in  the  ballad,  replacing  the  light  and  often  common  "Bankel- 
sange”  by  songs  of  deep  feeling  and  elemental  force.  The  source  of 
inspiration,  ho'.rever,  was  not  found  on  national  soil;  it  had  its 
origin  chiefly  in  the  closely  related  literature  of  another  land- 
in  the  ballads  of  the  British  isles. 

But  the  man  who  more  than  any  other  felt  the  national  importance 
of  lyric  expression  was  Johann  Gottfried  Herder,  As  a young  man, seek- 
ing for  tlie  origin  of  poetry,  he  thought  to  have  found  it  in  tl:e  song 
and  the  ode;  pondering  \5>on  the  nature  of  the  ode  he  found  himself 
lost  in  the  inquiry  about  the  first  beginnings  of  the  art  of  poetry. 

The  data  he  gained  from  the  study  of  the  life  of  Homer,  from  Hebrew 
poetry,  from  Dani^  history  and  IvlacP)herson’ s Fingal,  harmonized  with 
his  conception  of  the  nature  of  all  poetry:  "poetry,  the  mother 
tongue  of  mankind;  the  mother  tongue  of  all  poets— the  song,"  This 
was  for  him  the  key  to  all  poetry.  Had  he  been  able  to  follow  it  to 
its  utmost  consequences,  it  would  have  been  sure  to  have  become  tloe 
most  important  service  for  the  revival  of  the  poetic  spirit  in  Gemnany. 
But,  serving  him  as  an  inspiration  to  further  activity,  it  did  much  to 
guide  the  German  ballad  back  into  the  right  course  from  'v^hich  it  had 
deviated. 

Herder  thought  to  perceive  in  MacPherson's  "Ossian"  notes  of 
nature  and  of  the  heart  similar  to  Homer  and  Shakespeare,  and  to 


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verses  in  the  folksongs  of  various  nations.  It  matters  little  that 
he  and  others  mistook  the  work  of  the  Scotch  poet  IvlacPherson  for  the 
songs  of  Fingal*s  son  who  had  lived  in  the  third  centiory.  IvIacPharson, 
making  use  of  old  Irish  songs,  of  Scotch  verses  and  legends,  and 
thro\7ing  the  mystic  veil  of  antiquity  about  the  verses  of  the  legendary 
Scotch  hard,  had  revived  for  the  people  of  his  own  time  and  for  pos- 
terity, the  naivety,  th  sentiment,  the  force  that  had  originally 
created  them.  What  had  been  expressed  centuries  before,  voicing  in 
simple  vX)rds  the  most  vital  interests  of  life,  again  touched  the 
human  heart.  Harder  recognized  that  the  poetry  of  Ossian,  full  of 
sentiment  and  musical  quality,  was  destined  to  release  and  to  re- 
awaken the  neglected  appreciation  of  poetry  based  upon  true  emotion. 
With  the  notes  of  this  poet — ’’notes  of  dignity,  of  innocence,  of  the 
activities  and  blissfulness  of  hurrian  existence”  as  Herder  called  them, 
he  succeeded  in  directing  the  attention  of  his  contemporaries  to  that 
which  is  truly  simple— the  artless  production  of  the  creative  poetic 
spirit  of  a people.  Firmly  believing  in  the  authenticity  of  Ossian, 
and  placing  him  on  a par  with  Homer  and  Slaakespeare  as  a representa- 
tive of  the  highest  poetic  genius  he  upheld  him  in  all  critical 
literary  discussion,  regretting  only  that  so  much  of  the  beauty  of 
the  great  bard  should  have  been  lost  by  Denis’  inadequate  translations 
into  German  haxameter.  Not  that  he  did  not  fully  appreciate  the 
hexameter  of  Klopfstock,  but  that  he,  more  fully  than  anyone  else, 
realized  the  great  difference  between  the  two.  He  felt  that  the  poems 
of  Ossian,  songs  of  the  people--songs  of  an  uneducated  people  not  yet 


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iTOaned  away  from  adlierence  to  sense  impressions — songs  tliat  had 
continued  to  he  sung  hy  strength  of  tribal  tradition,  had  undergone 
a change  in  this  beautiful  epic  form.  Tliat,  even  thou^  the  mean- 
ing had  remained  undisturbed,  the  tone,  the  color  upon  which  the 
beauty  of  the  poem  depends  so  much  had  been  altered. 

Herder  aimed  to  prove  that  poetry  and  lack  of  culture  are  not 
contrasts,  sajung  that  for  him  a wild  people  is  one  that  is  alive 
and  unrestrained  in  action;  the  wilder  it  is  the  livelier  must  be 
its  songs,  if  it  possesses  such;  consequently  the  more  lyrically  in- 
clined. Upon  the  vital  quality  of  the  song,  the  living  presence  of 
the  pictures,  the  coherence  of  its  contents,  the  symmetry  of  the  words 
and  syllables,  the  rhythm  of  the  melody  depend  the  marvellous  power 
and  continuance  of  these  songs  through  the  centi-ries.  He  saw  a pro- 
nounced similarity  between  the  rhythm  of  the  songs  of  Ossian  and 
those  of  the  itoerican  Indians  vshich  also  depend  on  movement,  melody 
and  pantomime.  He  was  conscious  of  the  dramatic  element  in  the  old 
songs  and  pointed  out  the  energy  of  their  action— "Springe  und  Wurfe" 
as  he  called  them—proving  these  statements  by  examples  as  well  as 
by  psychological  explanation.  He  found  their  source  in  the  youthful 
imagination  as  yet  unweakened  by  abstractions. 

A part  of  a dialogue  between  mother  and  son,  translated  by 
Herder  from  the  old  Scotch  song  "Edward,  Edward"  is  here  quoted. 

Could  anything  have  been  depicted  in  more  gruesome  touches  in  a popu- 
lar song? 


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-5- 


1,  "Dein  Schwert,  wie  ist?s  von  Blut  so  roth? 
Edward^  Edward,* 

Dein  Schwert  wie  istfe  von  Bint  so  roth 
Und  gehst  so  tratjrig  da,’  - 0,' 

Ich  hab  geschlagen  raeinen  Geier  todt; 
Mutter,  Matter,’ 

Ich  hab  geschlagen  meinen  Geier  todt, 
Und  das,  das  geht  mir  nah,'  - OJ 


2.  Dein's  Geiers  Bltit  ist  nicht  so  roth,* 

Edward,  Edward,* 

Dein's  Geiers  Blut  ist  nicht  so  roth. 
Mein  Sohn  bekenn  mir  fray  I - 0,' 

♦ ♦ ♦ ♦ 

3.  Ich  hab  geschlagen  meinen  Vater  todt 

Mutter,  Ivfutter,' 

* ♦ ♦ ♦ 

4.  Und  was  soli  Deine  Mutter  thim? 

Edward,  Edivard,* 

Und  was  soil  Deine  Mutter  thun? 

Mein  Sohn  das  sage  mir,’  - 0,' 

Der  Fluch  der  Holle  soil  auf  Dir  ruhn. 
Mutter,  Mutter,' 

Der  Fluch  der  Holle  soil  auf  Euch  riahn, 
Denn  ihr,  ihr  rietheta  mir.’  - 0.* 


Songs  of  xvild  peoples  occupy  themselves  with  objects,  actions, 
circumstances — with  a living  world.  Youth  sees  the  phenomena  of 
this  vrorld  as  directly  and  truly  as  they  really  are;  the  contrast 
that  exists  between  the  youthful  and  the  modem,  between  nature  poet- 
ry and  the  poetry  of  artificiality  was  clear  to  Herder,  He  believed 
that  the  poets  of  antiquity  possessed  the  assurance  and  firmness  of 
expression  peculiar  to  the  unspoilt  children  of  nature,  coupled  with 
dignity,  harmony  and  beauty.  He  likened  Homer's  rhapsodies  and  the 
songs  of  Ossian  to  "impromptus",  lamenting  that  gradually  this  gift 


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-6- 


■became  v;eaker  tintil  finally  developing  art  extinguishes  natxire  and 
leaves  weakness  and  artificiality  in  its  place—  ”Die  Dicht  Kunst, 
die  st'urmendste^  sicherste  Tochter  der  menschlichen  Seele^  ward  die 
ungewisseste,  lahmste,  wankenste.  ” 

In  the  essay  entitled  ”Ossian  tind  die  Lieder  alter  ’^olker" 
Herder  expressed  in  detail  the  views  indicated  a"bove  and  also  touches 
tgjon  the  G-erman  Volkslied,  thus  giving  the  q.uestion  a practical  turn, 
A love  song,  an  old  German  fahle,  and  a childsong  are  quoted — "Bas 
Roslein  auf  der  Haiden." 

Aus  der  mundlichen  Sage: 

Es  saii  ein  Ena'be^ain  Roslein  stehn, 

Rdslein  auf  der  Haiden: 

Sah,  es  war  so  frisch  \3nd  schon, 

Und  "blieh  stehn  es  auzusehn, 

Und  stand  in  siissen  Freuden: 

Roslein,  Roslein,  Roslein  roth, 

Roslein  auf  der  Haiden,' 

Ber  Kna'be  sprach:  ich  hreche  dich, 

Roslein  auf  der  Haiden.' 

Roslein  sprach:  ich  steche  dich, 

Bass  du  e\vig  derikst  an  mich, 

Bass  ich’s  nicht  will  leiden 

Ro'slein,  Ro’slein,  Roslein  roth, 

Roslein  a^jf  der  Haiden. 

Boch  der  wilde  Eha'be  "brach 
Bas  Roslein  auf  der  Haiden; 

Ro’slein  wehrte  sich  und  stach, 

Aber  er  vergass  darnach 
Beim  Genuss  das  Leiden. 

Roslein,  Roslein,  Rdslein  roth, 

Roslein  auf  der  Haiden. 

Herder  appealed  to  the  German  poets  to  follow  the  example  of  Percy 
in  England,  assitring  them  that  Germany  also  liad  its  "Volkslieder, 

Pro venzial- lieder,  Bauernlieder"  in  the  untaught  rounds  of  the 
country  folk  of  all  its  provinces.  The  question  was  only  vtiO  would 


▼ 


' ' • >.3 


'J 


-7- 

collect  tlierfi.  Eowever,  not  to  collect  simply  to  see  them  collected,' 
Herder  closes  the  essay  with  an  expression  of  sorrow  over  the  common 
style  to  which  the  German  hallad  had  "been  redtaced,  in  the  place  of 
the  earlier  dignified  rendering  of  the  noble  and  sacred  form.  He 
wanted  the  German  lyric  art  to  rettrn  to  the  former  treatment  of 
simple  siabjects,  so  that  it  might  be  freed  from  the  often  oppressive 
ornamentation  that  had  recently  become  the  rnle: 

"Irre  ich  mich,  Oder  ist's  wahr,  dass  die  schoensten  lyrischen 
Stncke,  die  wir  schoh  jetzt  haben  -und  langst  gehabt  haben,  schon  mit 
diesen  mannlichen,  starken,  festen  deutschen  Ton  -(ijer  einkommen  Oder 
sich  ihm  nahem?  — Was  ware  nicht  also  von  der  A-ufweckung  mehrere 
solcher  zu  hoffen,'" 

In  1765  Haspe,  in  a criticism  of  "Percy's  relics  of  ancient 
English  poetry"  that  had  jnst  appeared,  calls  the  editor  "einen  ?=!Iann 
von  grossem  Geschmack,  nicht  weniger  Einsicht  in  die  Kritik,  -und 
einem  nnermiiilichem  Eleisse  in  der  Entdeck-ung  der  alten  poetischen 
Geschichte  seines  Vaterlandes. " He  praises  the  Eeli^^as  a collec- 
tion of  songs  that  depict  nature  in  its  truest  colors;  songs  that  are 
sure  to  please,  even  though  they  may  appear  strange  at  times.  Raspe 
also  expressed  the  wish  that  a German  art  critic,  equal  to  the  English- 
man in  application,  may  be  found,  so  that  a collection  of  German  folk- 
songs might  be  forthcoming.  Thus,  the  existence  of  the  material  be- 
ing certain,  the  gain  to  Geruian  poetry  ^/vooald  be  imraeas'urable.  Raspe 
also  calls  attention  to  Percy's  "treatise  of  the  English  stage",  a 
document  of  value  to  art  critics  because  it  proves  that  the  "rules" 
of  the  mysteries,  the  moralities,  masks,  histories,  comedies  and 


" ;<•  -'li  'Tir  ’.‘-.o  ■■''bj  ' '-*  ■ “ 


M-  ’ 

f*» 


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fT  t'<4K*  * '*v:ij  -4  r^’ 

I . ‘ ^ '-  A -i,  '.-i 


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' r 


-8- 


tragedies  coexisted  mth  and  were  equivalent  to  the  French  "rules” 
of  the  drama.  Haspe,  to  prove  this  point,  q-'X)tes  from  Percy  some 
hallads  as  examples,  such  as  in  Number  I:  Chevy  Chase,  Sir  Canline, 
King  Estmere,  Child  of  Elle,  Launcelot,  Alcanzor  and  Zaida;  in  Number 
II:  Rosamond,  Pasquil,  The  battle  of  Agincourt,  etc.;  in  Number  III; 
Glosgerion,  The  Lady  turned  serving  man.  Child  Waters,  George  Barnwell, 

I.  Sir  Cauline 

In  Ireland,  ferr  over  the  sea 
There  dwelled  a bornye  kinge. 

And  with  him  a young  and  cornelye  Knighte, 

Men  call  him  Sir  Cauline. 

The  Kinge  had  a ladye  to  his  daughter. 

In  fashion  she  hath  no  peere; 

And  princely  wight es  that  ladye  wooed 
To  be  tlaeyr  wedded  feere.  * * ♦ 


II.  Fair  Rosamond 

When  as  King  Henry  ruled  the  land 
The  second  of  that  name. 

Besides  the  Q.ueene,  he  dearly  lovde 
A fair  and  comely  dame. 

Most  peerlesse  was  her  beautye  founds. 
Her  favour,  and  her  face; 

A sweeter  creat\ire  in  this  worlds 
Could  never  prince  embrace.  * ♦ * 


III.  Lady  turned  serving-man 

You  beauteous  ladye s,  great  and  small, 

I write  unto  you  one  and  all. 

Whereby  that  you  may  understand 
What  I have  suffered  in  the  land. 

I was  by  birth  a lady  fairs 
An  ancient  barons  only  heire. 

And  when  my  good  old  father  died. 

Then  I became  a young  Kni^itefe  bride.  * ♦ 


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'.'U'  i/H 
i.^-^:x.  ,w. 


xi  . (■■  1 , i 


_o_ 


The  significance  of  Easpe’s  favorable  comment  is  heightened 
by  the  fact  tiiat  he  added  as  models  two  translations  from  the  Eeliqties: 
'•Fair  Rosamond”  am  ”The  Shepherd's  Resolution".  Even  though  these 
free  translations  were  anything  but  a success^  failing  as  they  did  to 
convey  the  beauty  of  the  originals,  they  nevertheless  called  the 
attention  of  the  German  public  to  this  epoch-making  literary  event, 
so  that  subsequently  the  English  text  of  "Fair  Rosamond"  served  as 
a model  for  Herder's  ballad  of  the  same  name,  the  only  one  chosen  by 
him  out  of  the  entire  collection. 

Die  schone  Rosemunde 

Ewst  harrscht'  ein  Koenig,  in  der  Zahl 
Heinrich  der  zweit'  er  hiess 
Der  liebte,  nebst  der  Koeniginn, 

Ein  Fraulein  hold  und  suss. 


Ihres  gl«ichen  war  auf  Erden  nicht 
An  Liebreiz  und  Gestalt; 

Kein  susser  Kind  war  auf  der  Welt 
In  eines  Mann's  Gewalt.  * * * 

Raspe  deserves  credit  also  for  recognizing  that  the  serious  ballad  was 
destined  to  be  more  than  an  innovation  of  the  burlesque;  that  it  would 
ultimately  cai:ise  its  disappearance.  It  was  his  sincere  desire  that 
his  countrymen  should  learn  to  appreciate  the  true  dignity  and  the 
real  nature  of  the  ballad  from  this  collection  of  short  songs  that  to 
him  were  equal  to  those  of  Ariosto  and  Tasso,  hoping  that  they  would 
choose  these  for  models  rather  than  the  "Mordsgeschichten"  and  "Rankel- 
sange".  Tliere  was  indeed  good  reason  to  wish  for  a collection  of 
German  Hero- songs  in  order  to  prove  that  German  forebears  of  chivalric 


• . 


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10- 


times  were  not  behind  their  neighbonrs  in  the  art  of  poetry  any  more 
than  in  other  things.  In  his  ballad  "Eermin  "und  Gtaiilde'',  a story 
of  chivalry,  Raspe  proceeded  to  show  '*hat  coiild  be  done  in  this  way. 

It  was  the  first  attempt  to  introdijce  into  romantic  poetry  the 
serious,  noble  elements  of  feeling.  Unfort-ijnately  Raspe ’s  poetic 
talent  was  not  equal  to  his  critical  insight—;  he  could  therefore 
not  hope  to  su^iply  the  perfect  model  so  sorely  needed.  Fully  aware 
of  his  own  shortcomings  he  appealed  to  Herder  to  continue  in  his 
search  after  old  songs,  so  that  old  Gernian  traditions  as  ^?ell  as  new 
apt  events  might  furnish  material  for  history  and  poetry. 

By  this  tin®  Percy’s  Reliquss  were  attracting  comment  from 
other  German  poets.  Gerstenberg,  challenging  his  readers  to  collect 
similar  German  sorigs,  quotes  ”C'.4)id's  pastime”  as  worthy  of  coinparison 
with  the  most  beautiful  remnants  of  Greek  antiquity  in  its  tender  turn 
and  refined  invention. 

C,  H.  Schmidt  believes  that,  if  the  venerable  Gernian  bards 
were  resurrected,  their  manly  voices  would  be  listened  to  ’.vith  rever- 
ent awe;  that,  if  valuable  old  treasures  of  German  poetry  were  found, 
new  poets  would  arise  ’.vorthy  of  comparison  with  the  old  English  bards. 

These  discussions  soon  bore  fruit,  as  seen  in  the  extracts 
from  Percy’s  Reliquss  in  German  translation,  containing  eleven  ballads. 

The  Ghild  of  Elle 

Harpalus 

Cupid’s  Pastime 

Loyalty  Confined 

Love  Will  Find  Out  a Way 

The  Spanish  lady's  Love 

Winifreda 

Bryan  and  Pereene 

Alcanzar  and  Zaida 


f.  . "Pify  'I 

’«js  %•  *1  t**-'* » • *■  tf  <w^J|SF  ' ■>  *»'  1 ' 


nS-.4-»l',*>  iii<5 :,  i--:.:' 


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L ■ •.bWo jWffi  V--^- 


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■')> 


1^  >i 


-11- 


L-cicy  and  Colin 
Margaret's  Ghost 


Ci:5)id's  Pastime  Davison  1621 

1.  It  chanc'd  of  late  a shepherd  s'vsrain. 

That  went  to  seek  his  straying  sheep. 
Within  a thicket  on  a plain 

Aspied  a dainty  nymph  asleep. 

2.  Her  golden  hair  o'erspread  her  face; 

Her  careless  arms  abroad  were  cast; 

Her  pillow  had  her  pillows  place; 

Her  "breast  lay  hare  to  every  blast. 

3.  The  shepherd  stood  and  gaz'd  his  fill; 
Nought  durst  he  do;  nought  durst  he  say; 
Whilst  chance,  or  else  perhaps  his  ’Adll, 
Did  guide  the  God  of  love  that  way, 

14.  Though  mountains  meet  not,  lovers  may; 
(last)  Fnat  other  lovers  do,  did  they: 

The  love  of  God  sat  on  a tree. 

And  laught  that  pleasant  sight  to  see. 


It  was  not  until  1790,  however,  that  a complete  copy  of  Percy's 
first  edition  of  1765  appeared,  proving  conclusively  that  until  this 
time  the  English  edition  had  served  as  a model  to  all  ^^dio  had  occupied 
themselves  ’Vith  Percy's  ballads.  It  had  so  far  been  difficiolt  to 
impart  to  these  translations  the  breath  of  poetry  inherent  in  the 
originals.  At  this  time  Herder  alone  seemed  qualified  to  interpret 
the  poetry  of  the  ballad,  due  to  his  intimate  acquaintance  with  Shakes- 
peare and  Ossian,  and  with  oriental  poetry.  His  soul  had  been  touched 
by  the  word  as  well  as  the  music  of  the  ballad,  but  it  is  more  than 
probable  that  the  idea  of  a collection  and  publication  of  his  folk- 
songs was  suggested  by  the  challenge  of  Raspe  and  Gerstenberg.  During 
his  stay  in  Strassburg  in  1770-71  he  occupied  himself  much  with  trans- 


-12- 


lations  from  old-English  ballads^  their  success  being  due  to  his 
realization  that  the  song — the  so -and— are  inseparable  from  living 
poetry.  He  kneiv  that  the  success  of  translation  rested  on  this  prin- 
ciple, that  translation  Vvdthout  tone  quality  was  dead,  r/Iany  trans- 
lators had  been  ship^vrecked  on  these  shoals. 

Herder's  stay  at  Strassburg  proved  a blessing  to  German  poetry. 
His  desire  to  awaken  an  interest  in  folksong  among  the  members  of 
his  set  resulted  in  the  cooperation  of  some  of  the  younger  poets; 

Goethe  who  was  one  of  them  said  that  Herder  opened  up  a new  vista  to 
him  in  poetry,  having  until  then  only  kno^vn  it  in  a very  different  way. 
Rie  study  of  Hebrew  poetry,  folk  poetry,  and  the  oldest  records  of 
poetry  as  suggested  by  Herder,  proved  the  art  of  poetry  to  be  a 'vorld 
bequest,  not  a private  heritage  of  a few  highly  educated  men.  Goethe 
drank  in  eagerly  all  that  Herder  offered  so  generously;  this  interesting 
intercourse  of  t'wo  great  minds,  one  of  them  just  unfolding,  was  Goethe's 
contribution  of  twelve  folksongs,  collected  by  himself  on  his  wander- 
ings in  the  Alsace,  and  carried  around  with  him  as  a treasure  near  his 
heart.  At  Herder's  suggestion  Goethe  also  took  vp  the  study  of  Percy's 
Reliques,  finding,  however,  that  the  "Reliques"  and  "Ossian"  left 
very  different  impressions  with  him.  The  elegance  of  rhythm  in  the 
English  ballad  was  far  removed  from  the  wild  uneveness  of  meter  and 
the  uncultured  expression  of  the  Scotch  Ossian.  Herder  saw  in  the 
"Reliques"  with  its  verses  of  strong  emotion  a niarked  resemblance  to 
the  po^verful  Greek  music  before  the  invention  of  the  art  of  hannonyr- 

I 

inspiring  him,  they  touched  his  soul.  To  reason  about  them  was  im- 


V ' 


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✓ 


A 'A;  ■ ■ * '•Jl 


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-13- 


possi'ole  for  him;  this  may  explain  the  delay  of  the  publication  of 
his  translations. 

The  year  1773  was  one  of  great  significance  for  German  litera- 
ture. Klopfstock  had  finished  his  Messias;  Goethe  broijght  out  his 
Goetz  von  Berlichingen,  Btirger  his  Leonore;  Herder  vfa,a  writing  his 
essay  on  "Ossian  and  the  songs  of  ancient  people”,  which  proved  to 
have  a far  reaching  influence,  Following  Easpe  and  Gerstenberg,  he 
discussed  some  of  Percy's  ballads,  adding  some  translations;  the  most 
important  of  these  were  "Edward,  Edward",  "Sweet  William's  Ghost", 
and  "Love  will  find  out  the  way. " 


Wilhelm's  Geist 

Da  kam  ein  Geist  zu  Gretchen's  Thtu:, 

Mit  manchem  Weh  -und  Ach.' 

Und  druckt  am  Schloss  imd  kehrt  am  Schloss 
Uhd  achzte  tra-urig  nach. 


1st  dies  mein  Vater  Philipp? 

Oder  ist's  mein  Bruier  Johann? 
Oder  ist's  mein  Tretslieb  Wilhelm 
Aus  Schottland  kommen  an?  * * 


Weg  der  Liebe 

Part  I I^er  die  Berge, 

l^er  die  Wellen, 

Unter  den  Grabern, 

Uhter  den  Guellen, 

IToer  Eluthen  md  Seen, 

In  der  Abgrunde  Stag, 
iJber  Pel  sen,  liber  Hohen 
Eind't  Liebe  den  Weg.'  * * 

Part  II  Den  gordischen  Elnoten 

Den  Liebe  sich  band, 

Kann  brechen,  kann  losen 
Ihn  sterbliche  Hand? 

Was  nwht  ihr,  was  siemet 


l! 


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-14- 

Ihr  listigen  Zweck? 

Durch  was  irli  beginnet 

Find't  Liebe  den  Weg.  ♦ ♦ 

D'uring  this  time  Herder's  essay  "The  Resemblance  of  the  Middle 

English  and  German  Poetry"  appeared,  showing  tlaat  in  their  natijre  the 

English  and  German  ballad  are  essentially  one.  Rhymes,  tnrns, 

favorite  expressions,  meter,  the  entire  "Wnrf"  are  the  same  in  both. 

The  essay  in  a way  announces  his  own  collection  of  the  "Volkslieder" 

which  at  last  were  p’dblished  in  1779,  In  the  preface  Herder  confesses 

that  the  English  folksongs  formed  his  starting  point,  as  they  are 

the  final  point  to  which  he  retiirns.  StimifLated  by  this  essay,  Ang^ast 

Friedrich  Ursimas,  like  B-urger,  edited  in  1777  a collection  of  ballads 

and  songs  similar  to  the  old  English  and  old  Scotch  poetic  species. 

The  cooperation  of  Eschenbtirg  did  mtich  to  f-urther  their  siaccess;  it 

was  he  who  introduced  the  collection  by  t’^  historical  literary 

treatises,  translated  from  the  English  "About  the  Old  English  Minstrels", 

from  the  first  volume  of  the  Raliquea,  and  "About  Song-poetry,  from 

the  essays  of  Song-Writing,  with  a collection  of  such  English  songs 

as  are  most  eminent  for  poetical  merit".  In  this  connection  ivere  some 

that  had  been  forroerly  published. 

I.dargaret ' a Ghost 

Lucy  and  Colin 

The  Shepherd's  Resolution 

The  last  of  these  three,  and  "Lord  Thomas",  show  the  excellence  of 
Estenburg's  translations,  true  to  the  original  in  tone  and  dignity. 

But  where  the  poet,  like  Raspe,  omits  the  rhyme  the  result  is  un- 
bearably sober,  even  trivial. 


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-15- 


The  collection  of  Ursin\3s  certainly  attracted  considera'ble 
attention  and  literary  comment.  Mo’ser  e:qDressed  vivid  regret  that 
Germany  had  no  such  reliques  to  offer,  saying  that  he  r^ould  prefer 
them  to  the  hones  of  the  eleven  thousand  virgins  at  Cologne,  Atjgust 
Hermann  Niemayer  of  the  University  of  Halle  read  from  this  collection 
to  his  large  classes,  trusting  hy  this  method  to  guide  the  taste  of 
the  students  in  the  desired  direction.  The  chief  significance  of  the 
Ur  sinus  collection  was  tijat  it  presented  for  the  convenient  use  of 
the  public  a compilation  of  laaterial  th-at  had  previously  been  scatter- 
ed. But  it  could  in  no  way  compare  with  the  "Yolkslieder”  of  Herder, 
a much  more  complete  collection  of  powerful  and  far-reaching  in- 
fluence, destined  to  bring  about  the  final  victory  for  the  true  poet- 
ry of  the  people.  That  this  victory  was  not  won  easily  is  sho^wi  in 
the  criticisms  of  such  opponents  of  the  folksong  as  Ramler  and 
Nicolai  who,  like  Holty,  considered  the  ballad  far  beneath  their  dig- 
nity, However,  the  spirit  of  the  time  pointed  in  the  right  direction 
and  the  opposing  voices  were  finally  silenced  by  ever  growing  numbers 
of  translations. 

The  '’Poems”  of  Burger  that  came  out  soon  after  Herder's  "Volks- 
lieder”  are  free  translations  to  the  extent  that  they  might  pass  for 
his  Own  ^^rk~and  indeed  he  was  not  unwilling  that  they  shoiild — the 
subject  matter  alone  pointing  to  their  origin.  They  stand  on  the 
very  borderline  of  free  translation  and  imitation.  Among  these  were 
"The  Child  of  Elle”,  called  "Die  EntfiShrung"  by  Burger,  and  set  to 
music  by  Zumsteg.  "The  Friar  of  Orders  Gray"  is  presented  as  "Bruder 


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16- 


Gra-orock"  and  "The  Passionate  Shepherd”  as  "Schiefer's  Lieheswerhimg”. 
Some  verses  of  each  of  the  poems  are  q.uoted  to  give  an  idea  of  B-arger's 
style;  comparing  them  with  the  English  version,  it  becomes  very  evi- 

f/ 

dent  that  B-urger  did  not  hold  closely  to  the  original  in  any  xmy. 


Brtider  Gra-urock  -and  die  Pilgerin 

If 

Ein  Pilgermadel,  jTJng  land  schoen, 

Wallt  auf  ein  Kloster  zu. 

Sie  zog  das  Glocklein  an  dem  Thor; 

Ein  Br-uder  Granrock  trat  hervor, 

Halb  bar  fuss  ohne  Sch*di, 

Sie  sprach;  "Gelobt  sie  Jesus-Christi” 
”Zu  Ewigkeit.’  sprach  er. 

Gar  wunderseltsam  ihm  geschala; 

Dhd  als  er  ihr  in's  AiJge  sah. 

Da  schltig  sein  Herz  noch  mehr.  * * 


It  was  a friar  of  orders  gray 
Walked  forth  to  tell  his  beades; 

And  he  met  with  a lady  fairs 
Clad  in  a pilgrims' s wesdes. 

Now  Chjrist  thee  save,  thou  reverend  friar, 
I pray  thee  tell  to  me. 

If  ever  at  yon  holy  shrine 
My  true  love  thou  didst  see,  * * 


Die  Entf'uhrnng 


1,  ”Ehapp',  sat  tie  mir  mein  D^en  ross. 

Das  ich  mir  Euh'  erUeite.' 

Es  wird  mir  hier  zu  eng  in»  Scnoss; 

Ich  will  taid  muss  in's  Weite."’ 

So  rief  der  Ritter  Karl  in  Hast; 

Voll  Augst  und  Ahnaung,  sender  Hast. 

Es  schien  ihn  fast  zu  plagen, 

Als  hatt'er  wenverschlagen. 

2,  Er  sprengte,  dass  es  F*jnken  stob, 
Hinunter  von  dem  Hofe; 

Und  als  er  kamm  den  Slick  erhob, 
Sie  da,  Gertruden's  Zofe.' 

Zusammen  schrack  der  Ritters  raann; 


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-17- 


Es  packt  ilm  wie  mit  Krallen  an 
Und  schuttelt  ihn  pieber 
Hinuber  -and  heruber.  * * 


1.  On  yonder  wall  a castle  standee 
With  walles  ani  to^’^es  'bedigiit, 

Md  yonder  lives  the  Child  of  Elle 
A yomge  and  comelys  Knight e. 

2,  The  Child  of  Elle  to  his  garden  went. 

And  stood  at  his  garden  pale. 

When,  lo]  he  heheld  fair  Einmeline’s  page 
Come  trippinge  do>;vn  the  dale. 

2,  The  Child  of  Elle,  he  hyed  him  thence 
Y-’vvishe  stood  not  stille 

And  soone  he  niet  fair  Emneline's  page 
Come  climbing  up  the  hille. 


In  1780-81  Bodmer  edited  his  "Old-Engli^  Ballads  with  Addi- 
tions of  Fragments  of  the  Old-Swahian  Period  and  Poems”.  He  said 
that  the  merit  of  these  songs  was  like  tl^at  of  a franlc,  open-hearted 
man  \vho,  in  his  simplicity  of  tliought  which  is  identical  ivith  feel- 
ing, thinks  and  feels  the  thoughts  that  issue  from  his  primitive  con- 
ception. Bodmer  hoped  that  the  many  traits  of  sincerity,  kindness  of 
heart,  honesty  and  humanity  contained  in  the  hallad  '.vould  he  appre- 
ciated, and  that  the  difference  existing  Between  the  naive  and  the 
common  i/rould  he  recognized,  since  the  common  is  often  made  tp  of 
trivial  and  vulgar  suggestions,  and  even  more  often  of  plebeian  wit  or 
still  more  plebeian  word-abuse.  Bodmer's  collection  was  composed  of 
38  translations  from  Percy's  ballads,  exceeding  in  mimber  all  previoxis 
ones,  but  not  equalling  that  of  Herder  in  artistic  significance,  nor 
that  of  Ursinus  with  its  excellent  Eschenburg  translations.  Twenty- 


-18- 


five  of  these  translations  were  contained  in  the  first  volnme  of 
1780,  They  all  helong  to  the  realm  of  the  people;  Bodmer's  selec- 
tion successfully  avoided  all  that  was  artificial  and  trivial,  as 
indicated  in  the  follovd.ng  list: 


1.  Koenig  Liar 

2,  Der  Kleine  Musgrave 

3,  Der  Ivlantel  der  Keuscldieit 

4.  Koenig  Westmar,  ein  Spielman 
6,  Waters 

6,  Der  MdJech  vom  grauen  Or  den 

7,  Patrik  Spense 

8.  Das  Kind  in  Ziehhrunnen 

9.  Die  Kinder  in  dem  Wald 

10.  Der  Landstdrzer 

11.  Glo-sgerion 

12.  Der  Ivlantel  mit  Barten  heligt 

13.  Des  Schulzen  Tochter  zu  Islir.gton 

14.  Barbara  Elle 

15.  Das  Schaferkind 

16.  Der  Geaffte  Ritter 

17.  Die  Pilgerin 

18.  Die  Schoene  Ellinor 
18.  Gaweens  Heyrath 

20 . Gordon 

21.  6awlin 

22.  Robin  von  Partingal 

23.  Der  Diener,  der  zur  Koenigin  wird 

24.  Ser  Stiefemutter  Grausankeit 

25.  Koenig  Edward  und  der  Gerber 


But  Bodmer  was  not  always  fortunate  in  the  choice  of  his  meter,  as 

the  follovAdng  verse  from  "Patrik  Spense"  will  prove: 

In  Dunferlie  sass  der  Koenig  zu  Tisch 
Das  Eleisch  war  niedlich,  der  Wein  blutrot: 

Wer  kennetednen  geschickten  Schiffer 

Der  trotzet  den  Sturm  in  dem  segelten  Boot? 

A comparison  \vith  the  original  text  mil  show  the  monotony  of  Bodmer's 

verse: 

The  King  sits  in  Dumferling-tome 
Drinking  the  blude-reid  wine: 

0 where  will  I get  a guid  sailor 
To  sail  this  ship  of  mine? 


'*  . ‘ ‘ 1 
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.TO* 


The  second  volnme,  edited  in  1781,  is  made  up  altogether  of  selec- 
tions from  Percy,  thirteen  in  all;  they  are: 

1.  Erairielyne 

2.  Die  schoene  Rosemtinde 

3.  Die  schoene  Ivlargareth  •ond  der  susse  William 

4.  Defi  sussen  William' 8 Geist 

5.  Der  Koenigin  Eleanora  Deichte 

6.  Her  Thomas  und  die  schoene  Nannet 

7.  Der  Mord  des  Koenigs  der  Schotten 

8.  Dear  Settler's  Tochter 

9.  Die  geduldige  Got  tin 

10.  Die  Wildschiifetzen 

11.  Der  Abt  von  Kantelhurg 

12.  Der  Erbe  von  Si3one 

13.  Robin  Hood 


The  quiet  narrative  style  of  BO'lmer  adapts  itself  well  to 
idyllic  passages  in  some  of  these  old  poems,  enhancing  their  beauty, 
as  for  instance: 

An  einem  der  langsten  Tage  in  Jahr, 

Unter  den  Schatten  am  grunenden  Hag 
Sass  beisamiiien  ain  liebendes  Parr; 

Die  schv/atzten  den  langen  Sonmertag. 

Sie  batten  nicht  alias  gesagt  was  sie  '-vollten, 

Als  ihnen  die  Nacht  zu  scheiden  gebot; 

Zu  scheiden  tath  weh  dun  lisbenden  Paar, 

Da  sprach  William  zu  der  schoenen  Bfergot:- 


One  verse  in  the  original  is  equivalent  to  these  tivo  above. 

As  it  fell  out  on  a long  simner's  day 
Two  lovers  they  sat  on  a hill; 

They  sat  together  that  long  summer's  day 
And  could  not  talk  their  fill . 


Herder's  ivork  far  surpasses  all  others  on  account  of  his  un- 


usual ability  of  linguistic  expression  perfected  by  practice.  He 


« 


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-20' 


came  nearer  tlian  any  other  to  rendering  "All  das  dimkle  Unnennhare 
das  "cins  mit  derc  Gesange  in  die  Seele  fliesset".  The  less  experienced 
translators  failed  to  convey  it;  they  lacked  the  pliability,  the  art 
of  sympathetic  interpretation,  the  sensitive  appreciation  of  the 
peculiarities  of  langmge  that  make  the  great  translator.  Herder, 
however,  was  not  satisfied  with  his  translations  of  the  folksongs, 
and  considered  any  criticism  justified,  saying  that  no  one  could 
find  any  fault  in  them,  of  which  he  himself  was  not  keenly  conscious. 
This  may  account  for  his  delay  of  their  publication,  Conparing  the 
versions  of  some  of  the  poems  translated  in  1773  ndth  those  in  print, 
changes  and  corrections  are  quite  frequently  found.  For  instance: 


Wilhelm's  Geist  1773 

Dein  Hand  und  Pfand  geh  ich  Dir  nicht 
S'wird  himmer  Dein  Gewirin 
Bis  dass  Du  korarast  in  mein  Gemach 
Und  Kuss'st  mein  Mund  und  Kinn, 

1778 

Dein  Wort  und  Treu  geh  ich  Dir  nicht 
Gehs  nimmer  wieder  dir 
Bis  Du  in  meine  Hammer  konanat 
Mit  Lieheskuss  zu  mir. 


The  translation  of  "Young  Waters"  of  1773  follo'ws  the  original  close' 

ly: 

Sie  nahmen  Young  Waters,  zwangen  ihm 
in  Ketten  Fuss  und  Hand 
Sie  nahmen  den  Jungling,  sie  zwangen  ilm  ein 
Wo  ihn  Kein  Taglicht  fand, 

1778 

Sie  rissen  ihn,  sie  zwangen  ihm. 

In  Ketten  Fuss  und  Hand; 

Sie  rissen  ihn,  sie  zwangen  ihn 
Wo  ihn  kein  Taglicht  fand. 


v»  1, 


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-81- 


The  10th  verse  of  "Die  schoene  Roseinunde"  shov?s  in  the  version  of 
1773  a decidedly  naive  construction^  while  that  of  1778  is  more 
artistic: 

1773 

Doch  ach  das  Gliiik  das  lachelt  jetzt. 

So  hald  ergrioact  es  si6hi 
Gar  hald  schwand  unser  Koenigs  Lust 
Und's  Fraulein' s Ruhe  wich 

1778 

Doch  ach,  das  Gluck  das  oft  ergrimrat. 

Wo  es  zuvor  ^lacht, 

Beneidet  hald  des  Koenigs  Lust 
Und  Rds'chen's  Liehespracht. 

Each  of  the  succeeding  years  added  to  the  number  of  transla- 
tions and  "imitations"  found  either  in  periodicals  or  in  private 
editions.  A second  volume  of  Burger's  poems  came  out  in  1788.  The 
Voss  Almanack  of  1780  brought  out  a German  version  of  the  ballad, 
"Talce  thy  Cloak  about  Thee"  and  the  "Rohin-Good-Eellow"  both  by  Voss. 
This  same  publication  contained  "The  Braes  of  Jarrow"  by  v.  Halem, 
"The  Jealousy  of  the  Mind"  by  E.M.Euh,  and  Hai:;g's  "Love  mil  find  out 
the  ^'vay",  as  \vell  as  the  translation  of  v.  Miller's  "The  passionate 
Shepherd"  which  had  been  published  before.  Still  another  collection 
"Volkslieder,  nebst  untermischten  anderen  St^ken",  identical  in 
title  mth  that  of  Herder,  came  out  in  1795,  prefaced  by  the  author 
F.  H.  Bothe,  as  if  to  justify  his  enterprise.  "Folk-poetry",  he  said, 
"taking  the  v^urd  in  its  proper  interpretation,  is  the  most  sublime 
of  all  poetry.  Its  chief  object,  great  important  truths  and  events. 
The  great  thinkers  of  all  times  loved  it;  its  greatest  poets  T^re 


-22- 


almys  the  most  popular”. 

Bothe's  collection  contains  28  haliads  after  Percy: 

1.  Der  Todes  Sieg 

2.  Die  Chevy  jagd 

3.  Mein  Sinn  est  rair  ein  Koenigreich 

4.  Die  goldene  Mittelstrasse 

5.  Heir  Kalin 

6.  Der  Ritter  von  Elle 

7.  Das  KniJblein  mit  dem  Mantel 

8.  Harm  Gahins  Hochzeit 

9.  Der  schoene  Unhekannte 

10.  William  and  Faimy 

11.  Herr  Aldingar 

12.  Die  FeenKoenigin 

13.  Robert  Gutfruend 

14.  Graf  Wal ter 

15.  Der  verliehte  Schafer  an  sein  Liebfchen 

16.  Dea  M^chen’s  Ant  wort 

17.  Das  Fraulein  aua  Spanien 

18.  Guter  Schafer,  sage  mir. 

19.  Der  Pilgrim  und  der  Reisende 

20.  Amor's  Kurzweil 

21.  Angelika,  eine  Ballade 

22.  Valentin  und  Ur sin 

23.  Die  Kinder  im  Walde 

24.  Die  in  einen  Dieuer  ver'p.’andelte  lady 

25.  Der  Mo^mlcIi  und  die  Pilgerin 

26.  Admiral  Hosier's  Geist 

27.  Bryan  und  Perine 

28.  Der  Ritter  unt  der  langen  Hase,  Oder  Weiherlist. 


These  translations,  far  more  artistically  rendered  than  those 
of  Bodraer,  are  by  Bo  the  himself,  with  tliree  exceptions.  The  first  of 
these  is  the  "Lady,  die  in  einsn  Dieuer  varwandelt  wird”,  signed  here 
for  the  first  time  by  Merck;  the  second  one  is  Miller’s  ’well  known 
”Verliebter  Schafer”,  and  the  third  one  is  Burger's  "Graf  Walter" 
with  some  slight  alterations  by  Bothe  for  the  salre  of  greater  truth 
to  the  origiml.  It  is  to  be  regretted  that  Bothe  failed  in  this 
attempt;  it  should  not  have  been  a difficult  task  to  iirxprove  a few 
imperfect  passages  of  a 'jvork  that,  on  the  whole,  came  very  near  the 


ihtiit'ii 


-23- 

criginal  text  in  si^^plicity  and  straightforv«,rd  treatment.  It  was 
chiefly  a question  of  technical  ability.  To  illustrate  this  point 
the  three  versions  are  quoted; 


Original;  Child  Waters  in  his  stable  stood 
And  stroakt  his  milk-\?diite  steed; 
To  him  a fayre  young  lady  came 
As  ever  'ware  xiTOman's  weed. 


Burger:  Graf  Walter  rjief  am  r^&rstallthcr; 

Knapps  scluminn  und  mein  Rossi 

Da  trat  ilin  an  die  schoenste  Ivlaid 
Die  je  ein  Graf  genoss. 


Bothe:  Graf  Walther  stund  in  seinem  Stall 

Und  strich  sein  milch-weiss  Ross 
Da  trat  ihn  an  die  schoenste  Ivlaid 
Die  je  ein  Graf  genoss. 


Even  thou^  Bothe  succeeded  in  bringing  the  first  t’^;o  lines  nearer 
to  the  original  text,  he  failed  in  the  last  ti'i©— evidently  not  capable 
of  finding  any  rhyme  but  ”Ross:  genoss".  Bothe 's  collection,  iihich 
does  not  include  anything  truly  German,  is  the  last  one  of  the  note- 
worthy collections  at  the  close  of  the  century. 

The  year  1801  brought  the  publication  of  S.  G.  Kosegarten's 
collection  of  translations,  eight  of  these  by  himself  are  considered 
the  best  among  literary  translations.  Word,  meter  and  sense  are 
truthfully  rendered,  retaining  the  original  character,  as  is  shcvn 
in  the  quotation  from  "Hosier’s  Geist”; 


1,  Spanien's  Heersmacht  war  geschlagen. 
Neben  Porto-Bello  lag 
Triumphierend  Englands  Flotte; 

Heiss  und  glorreich  war  der  Tag. 
Yernon  cum  und  seine  Braven 


-24- 

Ruhten  nach  der  sch\rolen  Schlacht; 

Wirapel  str<?rnten^  Bacherklangen, 

Siegs  geschrei  d-urch  scholl  die  Nacht. 

2.  Pl&tzlich  gellt  ein  gr£sslich  Henlen 
Aus  der  d-unklen  Plut  hervor; 

Geister  sch'/;arniten,  gra'a’nvoll  Hdiru.aemd, 
Rechts  taid  links  nnd  rings  empor, 

Statt  der  Leichentucher 
Hangeroatter  jeden  ein. 

Jeder  schein  mit  scheelen  BlicKen 
Porto-Bello  zu  "bedraii'n. 


Herder  believed  that  in  Kosegarten  a man  had  appeared  who  had  ven- 
tared  into  the  field  of  lyric  art  with  great  success,  making  the 
language  serve  him  in  the  utmost  degree,  dominating  through  it  like 
a master  mind,  making  use  of  its  abtindance,  its  wealth  and  harmony 
cleverly  and  yet  so  naturally  that  the  effect  is  surprising  and 
fascinating. 

Kosegarten's  sight  translations  are: 

1.  Das  Lied  vom  Weidenba-um 

2.  Das  Lied  von  Sir  Patrik  Spense 

3.  Die  Judentochter 

4.  Das  Lied  vom  edlen  Lfurray 

5.  Das  hussbranne  Al^chen 

6.  Die  Romanze  von  Barbara  Allen 

7.  0 Jammer,  JOpitaer 

8.  Hosier's  Geist. 

It  may  be  interesting  to  compare  the  follovTing  verse  of  "Sir 

Patrik  Spense"  in  the  original,  '7ith  Herder  and  wdth  Kosegarten: 

Ijfake  haste,  make  haste,  my  mirry  men  all 
Otir  guid  ship  sails  the  morn. 

0 say  na  sae,  my  master  deir 
For  I fear  a deadlie  storm. 


Herder:  Macht  fort,  laacht  fort,  mein'  mckre  Leut' 

Unser  gut  Schiff  segelt  morgen. 

0 sprecht  nicht  so,  mein  lieber  Herr 
•Da  sind  wir  sehr  in  Sorgen. 


I 


I 


*,l 

h ' 


\ 

t 


L ...  ‘ 'It  / *• 


. J 


, vX  ■ - 


i. 


.*  ;i  ! 

•f  , T 

V-  ■'•iV/ 

• yr  . 


, /-i  .V 


4 *-  ■- 

^ ;•.  V*^  V i il  ,J  V t*.4 


■ Hi' 


■■■'-  :■■  : oc  :X  '.'J\.  U 


. v'l- 

'Al  •>  'A^' 


'■  dMiM^ 


I 


-25- 


Kos3garten:  Ntm  rutirt  e-uch  Burscha,  rulart  e-uch  frisch 

Wir  sticlien  morgen  in  See. 

Da  s44-Gott  vor^  EerzlieBer  Herr.' 

Eg  br^ht  tins  Angst  nnd.  Weh. 

In  1805  Hang  presented  in  his  Epigrams  and  mixed  Poems,  Vol, 
II,  thirteen  translations,  among  then  the  "Bailiff’s  dan^ter  of 
Islington".  Some  of  these  translations  are  in  short  five  syllable 
trochaic  verse  mthout  rhyme,  v/hich  in  itself  is  not  snccessfiil, 
even  thongh  the  langnage  is  apt  enongh.  Hang  followed  the  example 
of  soma  of  the  lyric  poets  of  the  Renaissance  in  introdncirig 
abstract  ideas  like  "love"  by  equivalent  gods  of  Greek  mythology. 
Consequently  Hang  registers  a step  backvsard  in  the  attempt  to 
familiarize  the  Geririan  people  ',vith  Rercy' s Reliques.  However,  only 
tvvO  out  of  the  13  translations  deserve  the  name  of  folksong:  "Barbara 
Ellen"  and  the  "Bailiff's  daughter"*  In  order  to  give  an  idea  of 

Hang's  rather  conventional  and  artificial  style,  one  verse  of  the 
latter  poem  is  quoted  beside  the  original: 

Yet  she  was  coye,  and  ’vonld  not  believe 
Tliat  he  did  love  her  sO; 

No,  nor  at  any  time  shotild  shee 
Any  countenance  to  him  showe.  * * 


Hang:  Sie  glaubt  dem  feinen  Gekose 

Der  s tat t lichen  Erben  nie, 

^g  Spr6di^eit,  ach.'  nnd  hehlte 
Der  Herzens  Sj^ipathie.  * * 

Even  one  verse  is  sufficient  to  show  that  Hang's  manner  was 
not  suited  to  the  Volkslied. 


» h ^*4  Pf  < / 


‘iv 


"'.•’C  i'y  iAti  . 


J 


' J 

■'-/;/  k.i  :,*JE 


A 


V Jk't  Mil’ll,  j 


'’>«■  J 

If  - 


...  ..'j 


1 '*  ' 

,->. ..,  - 


-26- 


Tlie  Mijsen-Almanach  of  Chainisso  and  Varnhagen  of  1806,  and  that 
of  Seckendorf  of  the  follo\ving  t’\o  years,  hro-ught  out  ftarther  trans- 
lations, mostly  unsigned,  hut  supposedly  hy  Seckendorf  himself. 

^ong  these  were: 

The  Eisir.g  in  the  North 
King  Arthur’s  Death 
Alcanzor  and  Zayda 
Gentle  River 
The  Jew’s  Daughter 
Edward,  Ed’.vard 
Sir  Patrik  Spense 
Child  Waters 

It  may  he  interesting  to  consider  for  a moment  the  influence 
of  the  folksongs  on  German  plays.  In  1777  Wieland  completed  his 
’’Singspiel  Rosernund”  which  was  based  on  Percy’s  ballad  of  the  same 
name.  It  serves  as  a good  example  of  the  dramatic  use  of  the 
’’Reliques”  even  though  it  is  a well  kno-yn  fact  tliat  the  ballad  can 
scarcely  he  made  to  serve  satisfactorily  the  much  larger  dimensions 
of  the  stage.  In  1776  a tragedy  appeared,  called  "Adeston  und 
Ros’chen,  v^ith  songs  hy  Schenk,  and  in  1790  a drama  in  four  acts  hy 
Speyer,  entitled  ”Karl  von  Eschenhorst  und  Fraulein  Gertrude  von 
Hachhurg,  ” "Eosamunde"  a drama  hy  Th,  ^oerner,  came  out  in  1811. 
”Er'.vin  und  Elmir e”  was  the  name  given  to  the  draiaa  hy  Goethe,  making 
use  of  the  plot  of  the  ’’Friar  of  the  Orders  Gray"^  while  Tieck  used 
the  sane  ballad  for  his  "Zerhino”.  Ur sinus  had  recognized  the  value 
of  the  ballad  as  a source  of  dramatic  material.  His  opinion  was 
based  on  the  resemblance  between  the  ballads  of  Lear,  and  of  the 
Jew  of  Venice,  and  the  plays  of  the  same  name  by  Shakespeare.  This 


view  was  supported  by  Lessing.  There,  indeed,  was  rich  material  for 


f ' ,7  T’TSr  V T'3 


tfkO.‘  *w4,  ^ V’’Vi.  ■?c>- j|-(  ,v\«^ir'^IUti>  <ii>ilfi*r 

-'Sh, 


i^'''»'^'<»«'^  . V .viiVt  a»i  sflW«tto* '♦(;. 

z***  f '■■’,«  ■ ■•  - 

. *’  '.  ' ■ ^ ■■‘■'S.i': 


..Jft 


I' 


a 


' xh  • 

' ' • ♦ Xl,^  > • ' iTt- — (4<jS-j  ( ; 'f  ' . f 


t .'•  e.*t. f0 


\ ” 


■ t' J l^fC  ‘..S  .i.,  '■««* 


- i '.\.- 


I <4  '4  ~.a.  it'  -tu\  'rW^iw 


't? 


..y 


5 .i  *#•!  \cnacj  * .«v4«»v  t xA’Vi  f.^ 

Tf“ 


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lUI 


v4X  a,  .V  .* 

♦ iv*  *>  "Aid-  *i*jiJ  .'  I ' '^ 

* , 104^  ...;.*C‘  f->¥X  iiv  .i,  *i 

S*:, -'■  ' , ■ • .is:  f ' ':* 

i. *r.*  ■■  V .'7  ri  t j.ip  ^v<.  ^ 


• > 

.,  -f  V' 


itr^,  ^ . Ua*®  '■'  ■ ^ X\  x)^J^  __ 


■ fc.. '.  • r/ 


-27- 


the  young  draaiatic  poets,  and,  as  Ursinus  expressed  it:  "Wie 
es  ntm  wenn  ich  dera  jungen,  dramatischen  Dichter  alle  die  alten 
Balladen  luid  Legenden,  die  uns  noch  von  den  minstrels,  alle  die 
Romanzen,  welche  uns  von  den  Troubadours  ubrig  geblieBen  sind,  zur 
fleissingen  Lekture  a«riete?  zum  Studio  erapfdhle?  Ich  dachte  das 
■praxe  so  unrecht  wohl  nichtJ  Er  gewiss~^e  und  da  noch  ganz 

neua,^ochst  warlx-'scheniliche  und  interessante  Situationen  zu  ganzen 
St'ixken  finden,  oft,  und  hia-^yTeilen  wo  er’s  am  wenigsten  vermutete, 
die  auffallendsten,  vortrefflichsten  Gruppen  zu  einzelnen  Scenen” . 

This  brief  record  of  the  introduction  of  the  folksong  into 
Germany  covers  a period  of  forty  years,  beginning  with  the  first 
translation  from  Percy,  and  leading  up  to  the  time  ntien  Germany  be- 
came conscious  of  her  own  inherent  treasures.  Herder  saw  in  the 
Reliques  not  only  the  re:mants  of  a foreign  folk-poetry,  but  the 
stimulus  for  a new  Gentian  folk-lyric.  Had  he  lived  longer,  he  T';ould 
have  had  the  satisfaction  of  seeing  his  hopes  realized.  But  the  soil 
prepared  by  him  brought  forth  a magnificent  collection  of  folksongs 
between  1606-08;  the  "Volkslieder"  of  Ariura  und  Brentano,  a prodtict 
of  the  romantic  spirit  so  prevalent  at  that  time. 

The  notes  of  "Des  Knaben  V/underhom”  reached  all  German 
lands.  This  was  a magic  call,  awakening  a many-voiced  echo,  eagerly 
listened  to  by  the  German  people  and  accepted  mth  enthusiasm  and 
deep  feeling.  Ari-um  and  Brentano  proceeded  natim^ally  with  their  work, 
like  Percy  with  his  collection,  but,  nevertheless,  paving  the  way 
for  the  great  historical  collection  of  Ludwig  Uhland  "Alt  und  Nieder- 


- ^-1^*  • '1.  *.  . ' . ''.  ■ '.•■-.■li!  1 


'.'  , ■ ^ ' . r^V  ' '■■  '•■■  ' >'s  ‘ ' Vj  ' '•'>’]!  ’ -Vw  K 

fk- ^ • ,1 . " ,i , . \i>i-  .*  -^Ut.  ',":*■  -‘-9 


n** 


,f  **"•  V** 


A 


■jL\S^,T^  ,1 


, , ..  •*  .' 


't 


'ttl  ^ 

xy  ; l\\  ;, 


i' #-  *.v  . . i* \jti ,-:, .’ k'».  .'jtf  c , U;*‘i />■ 


• *-.  a *i;‘ 


» W«>4f» 


' ,?(#.'  A*;  ^ r h;  u-  'r . ' liii 

■ '^  ''  ,‘*  ; ‘ 'i  ' •'  '•;  ‘>V^ 

J'i’iiW  : - . *v  ti’ tii^V  ^‘v^J,itidi’T-ivO 


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f i' . .■ 


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• -;.‘  ■■>,ji  U/ 

'Ak/,  .•  l’L  ,.  ,m  ^'  , ./'  I,  # V ]5.  ■. ' >^  ""  * 

“■ ' TtP^'SWi- :'  .ipiv*. 

■ '■.'"li,  J>  I *,1, 1 ■ •:.i’^-^ j'55«,*  ••  1 ''  j-  1 4' 

Etr, .':,  ri  #^ , :> . 


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■« 


:;«.  ■(. 


t.  j'l.i 


-28- 


deutsclie  Volksliader"^  wiiicii  was  published  in  1845.  Other  collections 
of  national  folksongs  soon  followed--poets  were  no  longer  compelled 
to  leave  their  native  soil  for  models. 

Posterity  will  know  but  little  of  the  laatiring  efforts  of 
Herder  in  behalf  of  the  folksong  and  even  less  of  the  foreign  models 
that  inspired  him.  If  the  old  English  and  Scotch  songs  still  claim 
some  attention  it  is  rather  due  to  the  typically  German  desire  to 
get  acquainted  with  foreign  literature  than  to  an  appreciation  of 
their  historical  significance  for  German  literature.  But  the 
awakening  of  the  German  consciousness  is  due  to  the  emphasis  laid  by 
Herder  on  the  collection  of  folksongs^  even  though  he  called  his 
first  collection:  "ein  hand  voll  Wasser  gegen  liber  einem  nachbarlichem 
Gastnahl  von  Fulle  und  Wohlstand.”  In  the  preface  to  this  collection 
he  stressed  the  great  need  of  collecting  the  songs  of  the  people: 

”Hur  jetzt,  nur  jetztJ  Die  Reste  aller  lebendigen  Volksdenkeit  rollen 
mit  beschlennigtem,  letztem  Sturze  in  den  Abgrund  der  Vergessenheit 
hinabJ”  And  later  again  he  sent  out  the  imploring  appeal:  "Grosses 
Reich^  Reich  von  zehn  Volkern,  Deutschland.’  Du  liast  keinen  Shakes- 
peare, hast  du  auch  keine  Ges^ge  deiner  Vorfahren,  deren  du  dich 
ruhraen  koenntest?  Schvteizer,  Schwaben,  Erahken,  Bayern,  Westfaler, 
Sachsen,  Wenden,  Preussen,  ihr  habt  allesararat  nichts?"  His  appeal 
was  answered,  and  undreamed  of  treasures  were  revealed,  equal  in 
beauty  and  strength  to  Percy’s  Reliques.  The  poets  after  Herder, 
first  among  them  Uhland,  appreciated  the  intrinsic  value  of  the  folk- 
song, realizing  that  its  directness,  spontaneity,  force  would  keep 
fresh  the  close  bond  with  nature,  the  source  of  a people's  strength. 


1 I 


r € ,,  i ’^67^  ' ■ - r . V . 

l . iUcC' /’-tiiiaiiij 

. , ' . i .'  i ; ■ ' ! : : ^ 


i ft cifc%  •■'  V k *xik:#  To 

' *••  ‘j-v  •'■,  . ••  -u  ■• 


if*,. 


n.,v: 


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’■  ' / 


{ 


>» 


'^*  t* ’w'.'s  4V  ^OtB* 

■Jl  ' .*('*  ‘ , ’ ■ * ’»ftj  V"/H*TU|'  '*, : ^ 

, .v;?  **4VC.  — 

■ ■:  AS  '■.'  ■;■■  . . - • ..  .■ * -^‘ 

aT.1 


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r.  .-vi.-»s;:r>.,u._.<S  ,m;..  . ..{fj*  .,.«„■ 

If  *‘j'.  y:ri..‘3'''  .■  . ■/■'+'• 


M ■’ 

if.'- 

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A » 


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^IH ' 'i;  aA8r  i 't-.  ..  .flwlfl 


#••  \v  'j-**  "*  *^4*''  ^ ' '>  ‘ 

' ; V ; *'  V>'IT.  ;d  ,*  (Uf 

' . •*’./* '^  , - 1 ■'  ' ■ f 1 'vi'rl 

’./  W<>';’.  . t-'lj..  ik//«r«f(JLiv4ri  . HmuJSSL j» >. ’■TiuBS ■ 


tr-i.  *4r\a|iau>1fi.  ^<f  d 


-29- 

Even  Percy  failed, to  see  this  as  clearly;  the  learned  hishop  offered 
in  his  preface  to  the  Reliqixes  of  Ancient  English  Poetry  an  ^ology 
for  the  crudeness  of  some  of  the  songs  in  his  collection:  ”In  a 
polished  age,  like  the  present,  I am  sensible  that  many  of  these 
reliques  of  antiqmty  will  require  great  allowances  to  he  made  for 
them.  Yet  have  they,  for  the  most  part,  a pleasant  simplicity,  and 
many  artless  graces,  which  in  the  opinion  of  no  mean  critics  have 
been  thought  to  compensate  for  the  want  of  higher  beauties  and,  if 
they  do  not  dazzle  the  imagination,  are  frequently  found  to  interest 
the  heart.  To  atone  for  the  r\ideness  of  the  more  obsolete  poems 
each  volume  concludes  with  a few  modern  attempts  in  the  same  kind 
of  writing:  and  to  take  off  from  the  tediousness  of  the  longer 
narratives,  they  are  every\^ere  intemiiingled  vTith  little  elegant 
pieces  of  the  lyric  kind.  Select  ballads  in  the  old  Scottish  dialect, 
most  of  them  of  the  first  rate  merit,  are  also  interspersed  among 
those  of  our  ancient  Engli^  minstrels;  and  the  artless  production 
of  these  old  rhapsodies  are  occasionally  confronted  with  specimens 
of  the  compositions  of  conten^jorary  poets  of  a higher  class,  of 
those  who  had  all  the  advantages  of  learning  in  the  times  in  which  they 
lived,  and  who  Twrote  for  fame  and  posterity.  Yet  perhaps  the  palm  will 
be  frequently  due  to  the  old  strolling  minstrels  v/ho  composed  their 
rhymes  to  be  sung  to  their  harps,  and  who  looked  no  farther  than  for 
present  applause  and  present  subsistence.” 


.t  i 


ai 


4"^  , i 


u 


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Bitliography 

For  the  material  of  this  essay  I have  dra'ini  largely  from 
F,  H,  Wagner’s  dissertation:  "Das  Eindr ingen  von  Percy’s  Reliq-cies 
in  Deutschland." 

Heinrich  Lohre’s:  "Vora  Percy  zxsa  ’’if'underhorn.  " 

Deutsche  Literatur  Denkmale 

"Yon  deutscher  Art  md  Kmst" 

"Auszng^tts  einem  Brief^-wechsel  Tiber  Ossian  und  die  Lieder 
alter  Volker.  " 

Haym*  S!  "Herder " 

Herder:  "Stiramen  der  Volker  in  Liedem". 


